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The poetics of order: Dom Hans van der Laan's architectonic space
Caroline Voet

Architectural Research Quarterly / Volume 16 / Issue 02 / June 2012, pp 137 ­ 154
DOI: 10.1017/S1359135512000450, Published online: 27 November 2012

Link to this article: http://journals.cambridge.org/abstract_S1359135512000450

How to cite this article:
Caroline Voet (2012). The poetics of order: Dom Hans van der Laan's architectonic space. Architectural Research Quarterly, 
16, pp 137­154 doi:10.1017/S1359135512000450

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theory
The Plastic Number, a system of harmonic proportion based on
studies of human perception of relative scale, informs the design
of the Jesu Moder Marias Convent in Tomelilla.

The poetics of order:


Dom Hans van der Laan’s
architectonic space
Caroline Voet

The Dutch architect and monk, Dom Hans van der Already in his first writings in the 1930s, Dom van
Laan (1904–1991) leaves us with a legacy of der Laan aims to define architectural principles that
architectural writings and realisations arising from provide an intellectual expression of the act of
his search for fundamental principles of dwelling (‘wonen’). To dwell is to enter into a
1
architecture. His 1977 manifesto Architectonic Space relationship with one’s surroundings, meaning to
aims to combine spatial philosophical concepts with understand them. For van der Laan, this is the
2
practical design tools [1, 2]. The book is a series of primordial function of architecture: it makes space
fifteen lessons linking concepts, such as the readable. From his Benedictine background, he
relationships of inside-outside or mass-space, to his draws concepts that enable him to understand this
proportional series which he refers to as the Plastic complex process of cognition. He studies the old
Number. This article aims to offer an understanding church fathers such as St Thomas Aquinas, especially
and critical assessment of Dom van der Laan’s poetics his comments on Plato and Aristotle. The Benedictine
of order by unravelling how his buildings are made way of life builds upon the intertwined relation
3
and how they are perceived [3]. I focus on the between mystery and matter, between intellect and
case study of the Jesu Moder Marias Convent in senses, believing that this relation can be expressed
5
Tomelilla, Sweden. through a Platonic order.
In the preface of Architectonic Space, Sam J. van Professor van Hooff, in describing the work of Dom
Embden writes: van der Laan, defines cognition as a dual process of
6
Van der Laan goes far back – indeed to the pre- synthesis and analysis. On the one hand, there is the
architectural, rudimentary spatial experience, the act of living, a synthesis of the concrete and singular
interpretative activity of the perceiver of natural things, reality. On the other hand, there is the process of
from which he then derives indications for the productive analysis by the abstracting intellect. For us to know
4
activity of the maker of artefacts, the architect. the concrete and singular reality, an intense

1 Architectonic Space, 3 Atrium of Abbey


title page Sint-Benedictusberg,
Vaals, The
2 Architectonic Space, Netherlands, 1968
contents page

1 2 3

theory   arq . vol 16 . no 2 . 2012 137

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138 arq . vol 16 . no 2 . 2012    theory

interrelation between the two processes is needed. Le Corbusier, who builds his Tracés Regulateurs and his
8
How can architecture, as a concrete thing, enhance Modulor on Ghyka’s analysis of the Golden Section.
these relations? Van der Laan translates this idea of For van der Laan, the Golden Section in its
the reconciliation of wonen and intellect into the application is nothing more than an artificial
concept that the concrete and singular reality is concept to order matter, as abstract as the discrete
comprehended by reading materiality and quantity of mathematical numbers. Because of its
understanding its spatial relations. In this light, it is abstract nature, it proves inadequate when brought
the task of the architect to define an order in nature into relation to concrete and singular reality, since it
so that it can be read and understood: to create an remains on the level of analysis. To overcome this,
inside in an outside as the primordial condition for van der Laan looks for a ratio that is embedded in the
living. These are motivations that drive Dom van der synthesis of the act of living itself, that grows from
9
Laan to look for an order bordering the processes of the necessity of relations.
analysis and synthesis. More concretely, he aims to Dom van der Laan claims, already in 1928,
extract a proportional framework directly from that he has discovered a ratio that is capable of
perception, from human ability to relate and interrelating a building and its parts into a
differentiate sizes. continuous and complete hierarchy, in a way that
10
the Golden Section cannot. He develops from it
11
Proportional system his own series, naming it the Plastic Number.
Throughout history, artists and architects have used He found it by subdividing a line into three parts,
proportional systems as an underlying order, aiming where all the parts are interrelated by the same
to achieve the kind of beauty able to express this ratio of 1.32471... which he practically rounds up
12
objective reality. In the early to mid-twentieth to approximate the ratio 4:3 [4a–b]. Where the
7
century this remains a common concern. Many Golden Section can be mathematically described
2
proportional systems are based around the Golden by the equation x =x+1, the Plastic Number follows
3
Section 1.608… or Divina Proportione, as being intrinsic the equation x =x+1. It makes an endless sequence
to nature. But Dom van der Laan approaches the of ratios comparable to the Fibonacci series of the
concept of order from a different perspective. He Golden Section, as used in Le Corbusier’s
13
differs deeply from his contemporaries, for example Modulor. One exceeds the other by 4/3. Unlike the
Fibonacci series, where the sum of two terms is the
next term in the series, in the Plastic Number
series the sum of two terms is equal to the next-
but-one term in the series (for example 7/4 + 7/3 =
not 3 but 4). The series can be written out
arithmetically as:
1 4/3 7/4 7/3 3 4 16/3 7
and is discussed in more detail below.
For Dom van der Laan the focus is not on the
4a mathematics of the Plastic Number, but on its ability
to interrelate concrete spatial phenomena through
the ratio of proportion. Here lies a fundamental
difference with the Modulor. Le Corbusier uses the

4a A line subdivided in 4b The six measures 5 The plans of Dom


three parts according formulate a Hans van der Laan’s
to 1:1.324718... or continuous series four convents,
approx. 3:4, allowing from 1 to 4, where drawings by Dom
for a continuous one exceeds the Hans van der Laan,
series of six measures. other by 4:3 comparison by Rik
This complete van der Laan
interrelation cannot
be achieved with the
4b Golden Section

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theory   arq . vol 16 . no 2 . 2012 139

Fibonacci series to define his blue and red series of The proportional framework of the Plastic Number:
the Modulor system, but does so through selected interweaving three scales of human perception
fixed numbers, relating these to ergonomic Van der Laan starts from the idea that one reads a
measures. Van der Laan does not start from fixed building through its parts, their interrelation and
measures. His series remains defined by ratios, which their connection to the whole. Building parts, such
are applicable to all kind of scales. In this sense, he as columns or window series, operate in giving scale
sees the Plastic Number as a bridge between to the space, thus making the space understandable.
experience and abstraction, between geometry and When one reads space, one judges its size by relating
mathematics. it to a reference. A reference is abstracted and
In developing his idea and system of Plastic superimposed on the measured element through an
Number, van der Laan studied classic examples, from artificial process of counting. This is rooted in the
the Parthenon to Hagia Sophia, trying to understand Pythagorean concept that number is the base of
their poetics of order, and even superimposing his everything; one reads space through its order by
own. From Aristotle’s Poetics, he learnt how to use counting. Based on this insight, Dom van der Laan
archetypical schemes of grid patterns and develops a framework that interrelates all built
compositional concepts. From Vitruvius, he elements, from the building stone to the city fabric,
borrowed spatial concepts such as symmetry and as one hierarchical matrix of comparable sizes.
eurhythmy, defining a concept of rhythmical Van der Laan undertook a number of empirical
dispositions through Vitruvius’ categorised densities tests with his students in order to define the
14
based on the column-intercolomnium relation. boundaries within the series, where one scale of
20
From these sources, he developed his own perception ends and another begins. He used
proportional framework as a formal and several teaching aids. The first working tool he
21
hierarchical spatial organisation, aiming for it to be named the abacus [6]. He asked his students to
an objective and universal design system. Van der group series of stones according to their size, asking
Laan stated that: the questions: when is there a relation between the
we can conclude that the ancients gave the name stones and when not? When is there a perceivable
disposition to the totality of tangible and visible factors, difference between the stones? These tests resemble
while they called the totality of the factors that have to those carried out by the German experimental
22
do with quantity ordinance. [...] Thus ordinance is psychologist Gustav Fechner. By this testing
related to the quantity of things, disposition to their method, Dom van der Laan established to his
quality, and the two must be coordinated. [...] Just as satisfaction that a difference of size between two
nature is completed by architecture, so in architecture building parts smaller than the ratio 3 to 4 is not
15
disposition must be completed by ordinance. perceivable. The eye ‘levels’ smaller differences,
Van der Laan regarded his own realised architectural rounding them up to the nearest measure of the
projects as ‘specimens’, testing grounds where he order. He calls this ‘aura’ of unperceivable
could develop his theoretical framework. It was only differences the ‘margin’. So the ratio of the Plastic
from 1959 onwards, through designing a crypt for Number allows for the definition of a series of
the Abbey in Vaals, that he started to understand measures that represent, through the play of the
architecture in terms of space. From this point margin, the endless variety of natural measures.
onwards, he started to define an architecture with no In the series of six measures, that is the series:
ornamentation and using rough materials. The 1 4/3 7/4 7/3 3 4
painter Théodore Strawinsky describing his the difference between the two largest measures 4
experience on entering the crypt of the Abbey, says: and 3 is the smallest term in the series, that is 1. Van
‘c’est la première fois que j’ai l’émotion de l’antiquité der Laan then chooses to extend his original series
16
dans un bâtiment moderne’. A comment that
evokes the tactile and ascetic feeling of the building. 6 The abacus, van der
The following analysis aims to unravel Dom van Laan’s first working
der Laan’s formal system, by closely linking his tool for the study of
symmetrical
theoretical spatial concepts to practical design relations between
17
solutions exercised in the convent of Tomelilla. building parts, 1953

Tomelilla is one of the four main projects – all


convents built between 1960 and 1995 – in van der
18
Laan’s limited oeuvre [5]. First it is important to
explain, very briefly, the proportional framework in
relation to perception and what van der Laan defined
as three scales of human experience. This is followed
by an assessment of the implementation framework.
Then each of the three scales is defined through its
abstract concept, followed by practical design
applications in the convent of Tomelilla. Several of
these analyses were developed in conversation with
Rik van der Laan, Dom van der Laan’s nephew and
right-hand man in the designs for the convents of
19
Waasmunster city and Tomelilla. 6

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140 arq . vol 16 . no 2 . 2012    theory

10

with two numbers, extending the series to the limits


7 The measuring
system, drawing by of an order of size, where the smallest measure stands
Rik van der Laan in ratio to the largest as 1:7 [7]. The series then
8 Nearness: disposition consists of eight terms from 1 to 7. The upper limit is
between mass and 1:7, the largest ratio in which two sizes can be related
space = 1:7 (AS XII.2.a)
and compared through perception. Beyond this
9 Threefold border they differ too much and belong to different
experience-space:
workspace –
orders of size. The smallest size 1 is the unit, the basic
walking-space – module to which the other measures relate. 7 is then
visual field
the smallest unit for the following order, which will
10 Threefold reach until 49. Out of the eight measures, van der
architectonic space: 8 Laan defines an authentic series and a derived series.
cell – court – domain
(Dom van der Laan, The authentic series then is:
Architectuur, modellen 1 4/3 7/4 7/3 3 4 16/3 7
en meubels)
One exceeds the other by 4:3. The derived series
11 The measure-system incorporates a finer grain and allows for double sizes
of Tomelilla. Numeric
to become part of the composition:
values of the building
(scheme Rik van der 7/6 3/2 4/2 5/2 7/2 9/2 6
Laan), measures in A derived measure lies in the harmonic middle of
dm
two authentic measures.

11

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theory   arq . vol 16 . no 2 . 2012 141

So van der Laan’s proportional series has eight express architecture in a more direct manner
terms from 1 to 7 where 1 is the unit, the module. through its role as a spatial boundary between
There are several relationships that define this inside and outside, a more concrete separation of
series: the human habitat from nature. To explain the
• each element exceeds the preceding element by relation between space and man he introduces a
the ground ratio 4:3 threefold experience space: the space that we draw
• the sum of two sequential elements is not the into our existence through movement [9, 10]. It is
following element but the one after that formed by three interlocking zones: the intimate
• any unit in the series is equal to the difference workspace (cell), the bigger walking-space (court)
between the 4th and 5th units after it and the vast visual field (domain). The experience-
• In this sense, a series can grow out of two space is then literally translated into a threefold
elements that interrelate in the ratio 3/4. Their architectonic space. He expresses this in abstract
difference is the lower limit, their sum defines archetypical models. The human habitat is seen as a
the upper limit. play between three separations: cell, court and
The result is a methodology that offers the domain. They are those three scale-levels that,
opportunity to design intuitively from interrelated together with the thickness of the wall, feed into
proportions, as they are expressed through whole Dom van der Laan’s proportional framework. The
numbers. All kind of subtractions or additions are thickness of the wall is taken as the measure by
possible, remaining within the harmonious which to read the cell, the cell is the measure to
sequence. It is important to understand that the read the court, and the court the measure to read
proportion is not about the exact application of the the domain. They interrelate to each other as 1 to 7,
mathematical numbers, it is about the relation and in this define the ordered terms of a series.
between the ratios. It is only this relation that is When it comes to a concrete design,
perceived within experience. So rather than mathematical values are assigned to the different
insisting on exact fractions in proportion, the scales [11]. The first step is to determine the size of
margin of tolerance, based on the limits of the cell, the basic space-cell that has its relation to
perceptible difference allows for measurements to the thickness of the wall. This can fluctuate
be rounded up or down to simple ratios, that in between 3 and 5 metres: a living unit functionally
their turn can be matched with an exact suitable for one person with a bed, a closet and a
mathematical number within the order. Because of desk. In the Tomelilla abbey, the thickness of the
this simplicity, the designer can sketch by hand wall is 600 mm and the cell is 4.2 m. These basic
using interrelations between, for example, 1, 3, 4 units are incorporated into the framework,
and 7. It allows the architect quickly to set harmonic automatically determining the other scales of court
sequences between buildings, the subdivision of and domain. In comparison: the scale of
spaces or for example the composition of a facade. Roosenberg Abbey is slightly smaller: the thickness
In an intuitive manner one works from the rough of the wall is 500 mm and the space-cell
grain to the finer detail, towards the Plastic Number. is 3.5 m.
Van der Laan not only applies this proportional
framework to the composition of building parts, Dynamic superposition of models
but also to the relation between mass and space Dom van der Laan uses the cell as the building
within a building. For van der Laan, this relation block to define a grid. Architectural design mostly
23
which he defines as nearness or proximity is uses a grid as an underlying logic. Typically this is
primordial and can only exist within the outer based on standards inherent to construction
limits of one order of size. The thickness of the wall, methods, materials or economics – for example
as the unit for the space, is always 1:7 in relation to span length or the organisation of underground
that space. If two constructed elements define a parking. But here, these rationales are not regarded
wider space, they cannot enter into a relationship. as driving forces for the design. The grid is used in
From this relation, a basic spatial module is set, the same way as it is used in classical architecture
from which the building can grow. The yardstick for – it is linked to a proportion framework. In classical
this scale is the size of the human body. In Dom van architecture grid schemes are used to define models
der Laan’s own words: based on the relation of the parts to the whole. A
The smallest space in an architectonic sense, the space- primary example is taxis, the framework defined by
26
cell, can therefore be either large or small, according to Aristotle. Dom van der Laan adopts this idea of
the demands put upon it. The space we normally live in working with grid schemes and models. He defines
is of a double-type of size with threshold measures of abstract typological models on the three scales of
about 3, 4 or 5 metres. With smaller dimensions the building: building plans (domain), interior spaces
space becomes less human; with larger ones it takes on (court) and wall compositions (cell), which coincide
a regal character, until excessive large dimensions once with the interlocking orders of the measure-system
24
more make it inhuman. of the Plastic Number. As in classical architecture,
Influenced by the philosophical phenomenologist ‘superposition’, a term defined and used by van der
Otto Friedrich Bollnow, Dom van der Laan Laan , is essential. By this he means that elements
introduces phenomenological concepts to explain are always inherent parts of a whole. From the
the relation between mass and space, and the smallest building part to the whole terrain,
25
interrelation of spatial elements. It allows him to everything is interrelated.

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142 arq . vol 16 . no 2 . 2012    theory

Dom van der Laan interlocks his cell-court-


domain models into architecture through a
dynamic process. They are never incorporated as
singular modules or closed entities. His design
sketches do not start from a clearly predefined form
or proposition. They can more be read as generic
studies of rhythms and lines. His lines form an
endless pattern and from the crossing of those
27
traces, a figure slowly emerges [12]. A plan or a wall
is built out of several series, each with its own
rhythm related to the open/closed relation and its
12 influence on the neighbouring space [13]. His
buildings do not have a classical symmetry. The
spatial construction is not instructed by a
structural logic, as in modern functionalist
buildings. Dom van der Laan’s buildings are a three-
dimensional matrix of rhythms: a polyrhythmic
space defined by several series and their spatial
superposition. The result is a dynamic layered
architecture that induces an effect of simultaneity
and unfolds as one moves through it [14]. The
spaces are experienced as a continuous whole, not
13 as a succession of parts.

12 A study by Dom van


der Laan for a church
and crypt in Vaals.
The rhythm of the
horizontal layers is
still ‘equal’. The
rhythm of the
windows above is
still related to the
rhythms of the pillars
below. For every
pillar there are two
windows, which is
a traditional
symmetry. From
1959 onwards, this
changes and he
designs with a more
dynamic approach.
This can be seen in
the built church

13 Axonometric of the
church (after 1968)
by Dom van der Laan
showing eight
openings at the
bottom and fourteen
windows, rather than
sixteen, at the top

14 Roosenberg Abbey ,
Waasmunster,
Belgium, 1972–75

14

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theory   arq . vol 16 . no 2 . 2012 143

Scale I, disposition of the overall plan: The scheme of peripheral disposition is closely
between cella, court and domain related to the archetypical form of a farm or of a
Cell, court and domain can relate to each other in small convent: cells around a court with a church or
different ways. Dom van der Laan develops a series of main building [18, 19]. Cell, court and domain
nine models where cell court and domain are placed remain close to the scheme, as a city in its embryonic
together, either from the centre of the plan or state. In the convent, the cell has two different
around the periphery [15, 16]. The models are called expressions. Adjacent to the church, living cells
either central or peripheral disposition accordingly. immediately surround the court. They are the first
He gives preference to a peripheral disposition, habitable space, but also the framing of the court.
expressed in models 5, 6, 8 and 9. Here, the three They define this court as a first exterior. In larger
spaces interlock. A court is formed by a cell and not convents, the cells are situated on the first floor.
subdivided by it. On model 9, he explains: The relation with the court is then realised through
This combination of the peripheral juxtaposition of cells the bigger spaces on the ground floor, a gallery and
around the inner court and the inner courts around the stairs. In the church itself the smallest space-cell
square produces the great unity of threefold architectonic appears as a gallery, becoming the unit of size for
space. This space, which has to fit our threefold space- the bigger space.
experience, is no longer generated by three independent
concentric boundaries; the same wall that gives rise to the
17 Analysis by Dom van
cell now, through the cell, calls the inner court into being, der Laan of the Hagia
28
and through the court the square. Sophia (first
drawings from 1955,
As an example of this interlocking concept of this drawing is from
superposition, he makes an analysis of the Hagia Le Nombre Plastique
[Leiden: Brill, 1960],
Sophia [17]. The thickness of the wall A stands in
XIII.13, fig. 26). One
relation to the whole space, through the cell-spaces B can compare it to
29 scheme 9 of the
and the side-chapels C.
peripheral
disposition

17

18

15

15 Nine schemes for the 4 peripheral court 8 peripheral


disposition of cell, with central cell juxtaposition of
court and domain, 5 peripheral court courts with
according to an order with peripheral peripheral cell
of size a1–a4: cell 9 peripheral
1 central court with 6 peripheral court juxtaposition of
central cell with peripheral courts with
2 central court with juxtaposition of peripheral
peripheral cell cells juxtaposition
3 central court with 7 peripheral of cells (from
peripheral juxtaposition Architectonic Space
juxtaposition of of courts with [Leiden: Brill, 1983], 19
cells central cell III.13, p. 30)

16 Models from the 18 Scheme 6 of the 19 Plan form: Early


exhibition: peripheral disposition, Churches In Syria by H.
Architectuur, in comparison to a C. Butler (Princeton
modellen en meubels, Syrian convent. The University, 1929). This
Museum three zones are book was often used
Bonnefanten, expressed in their by Dom van der Laan
Maastricht, 1982 embryonic state. and his students as
Study: Rik van der Laan study material

16

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144 arq . vol 16 . no 2 . 2012    theory

Disposition of the plan for Tomelilla The first sketch for Tomelilla builds upon a general
The layout for this convent builds upon the formula defining the convent wings in relation to
concept of peripheral disposition: a complex of the court [21]. Rik van der Laan made the two first
interlocking spaces situated on the edge of the schemes shown, documenting this basic formula
31
domain [20]. Dom van der Laan regards it as a used for all Dom van der Laan’s convents. As an
conglomerate of material layers interlocking an ‘under layer’ it concretises the abstract models of
exterior space, the ungraspable nature, and an cell-court-domain and their peripheral disposition.
interior, the convent’s ‘hortus conclusus’, a We see four loose wings that through their
30
restored Garden of Eden. As there is not yet a real placement shape a court. The size of the cells is
location, the design of the domain is fictive and repeated in the court. Between court and wing there
directed towards the building. The convent is is a gallery, which resembles a stretched cell. The
organised around two inner courts: one part for wings themselves are formed by a double row of cells.
the guests around a small square court at the front Theoretically, the court is seven times bigger than
and, diagonally to the rear, a court for the sisters the cell or gallery, as in the second scheme. The
with the church. Two wings line up in the middle, gallery in this sense is marginal compared with the
so that the two fields with courts touch each other court: they belong to the same order of size, as
in a corner. This disposition leads to a crucifix- extreme measures. In this case, the cells transform
shaped plan and allows for several distinct squares from a living room or sleeping cell to galleries
and gardens around the convent. This abstract around a court. In the first case, they are functional,
scheme, as first idea, will be kept intact during a in the other they are expressive, as the framing of the
design process of more than four years. court. In the embryonic convent, the cells are at the
At the beginning of the design process, the space- same time living units and frame. This formula feeds
cell is used as a base for the definition of a modular directly into the concrete plan of Tomelilla: seven
grid. On the grid, several formulas for dispositions wings around two courts. The church is wider and
can be traced. consists of four cells [22].

20 First sketch made by


Dom van der Laan for
the Jesu Moder
Marias convent at
Tomelilla, Sweden,
soon after the visit of
Abbess Moder Tyra,
16 March 1986

21 Underlying patterns,
drawings: Rik van der
Laan

22 Impression of the
convent at Tomelilla,
Caroline Voet. The
part for the guests on
the right is not yet
built

20 21

22

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theory   arq . vol 16 . no 2 . 2012 145

Ordinance of the plan for Tomelilla The measurements between court and cell follow
The scheme below traces the general measurements order II from 42 dm to 302 dm [24–27].
of the courts in relation to the domain [23–25]. All of 42 dm x 7 = 294 + 6 + 2 = 302 dm
them can be situated in the first order of size which The wings have a width of 84 dm, or 2 x 42 dm, the
ranges from 302 dm to 2162 dm. Van der Laan always doubled cell.
takes measurements in decimetres (10dm =1m). Here The church has a width of 196 dm, with side aisles
measurements are always taken from the centre of of 42 dm and a central nave of 2 x 56 dm.
the wing. 42dm : 56 dm = 3 : 4.
302 dm x 7 = 2114 + 42 + 6 = 2162 dm
The overall layout is square: 1060 dm x 1060 dm. The proportion of the core-measurements gives one
The smaller guest court is 302 dm x 302 dm. approach. The plan is also conceived from the
The bigger court for the sisters is 456 dm x 456 dm. proportions of the wings in relation to the net
The distance between the convent and the measurements of the courts. Depending on the
perimeter of the domain is 302 dm, being the different widths of the wings, these receive a specific
measure for the whole domain. proportion of their own. Also the partial addition of
the galleries has its influence here.
Court of the sisters: 5 x 42 dm : 7 x 42 dm
Court of the guests: 4 x 42 dm : 5 x 42 dm
The proportion 42 dm : 302 dm gives the initial
relation between the gallery and the court.
Eventually, the width of the gallery is fixed on
36 dm instead of 42 dm. As such, the courts become
slightly bigger.

23 Basic measures of the 25 The applied 26 Overview of


axes of the convent, measures, drawing: Tomelilla, Caroline
drawing: Rik van der Rik van der Laan. The Voet
Laan used measures are
grey 27 First floor of
24 Basic measures of the Tomelilla, Caroline
convent wings and Voet
courts, drawing: Rik
van der Laan

23

25

26

24 27

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146 arq . vol 16 . no 2 . 2012    theory

Scale II, disposition of the house: Six different types of convent spaces
from cell to gallery to hall space Throughout the designs of the four convents, Dom
As the wall serves as a unit for the cell, this smallest van der Laan develops a catalogue of spatial types,
33
space serves as a unit for the larger spaces. Dom van which he reuses several times.
der Laan states that: ‘the smallest space, the space-
The cell as sleeping unit
cell, is the basis of the complete human habitat. It
The sleeping cell is the smallest spatial unit within
spreads out into the form of the whole house, which
32 the convent [30–33]. It has the immediate 1:7 relation
in its turn is absorbed into the urban context’.
to the thickness of the wall. As a contained unit it
As the cell is stretched in one direction, the other
offers one bed, one desk with one chair and one
direction is still under the influence of the nearness
closet. Combined into series, the cells occupy the first
of the adjacent walls. A bar-like space arises,
floor. They are connected with each other through a
presenting itself as a gallery [28, 29]. One wall can
central wooden corridor. Each cell has two large
remain closed, the other needs openings to express
windows. Already here, there is the contrast between
the thickness of the wall. The gallery is a maximum
the inward movement through the heaviness of the
of seven times bigger then the cell, since a space in
walls and the outward projection of the framed view.
which the distance between the walls is more than
In Tomelilla, the sisters have a bathroom in each cell.
seven times their thickness, according to Dom van
Here the formula is adjusted: a strip of wet cells
der Laan, has no architectural form. So in larger
borders one row of cells, connected by a side corridor.
spaces, the relation between mass and space is
realised through the superposition of a gallery. This
superposition of the gallery in the space, the fact 28 From cell to gallery to 30 Cell in Roosenberg 32 Typical plan of cells
that they are situated one inside the other, allows for hall space, models: Abbey in Roosenberg
Architectonic Space,
a relation between them. The wall relates to the XII.2 to XII.10 31 Cell in Roosenberg 33 Typical plan of cells
gallery, and the gallery to the whole space. In this Abbey, Dom Hans van in Tomelilla
29 Gallery at der Laan
way, the nearness relation with the wall is secured. Roosenberg Abbey
The proportions of the hall can then be expressed in
relation to the gallery.

29

28

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theory   arq . vol 16 . no 2 . 2012 147

The hall as the model of the church


The church is of the classical basilica type, a central
space with a narthex and an apse [34–36]. Together
with the two lower side aisles or galleries, these
smaller conglomerate spaces ensure the
interrelation of the whole church with the
surrounding walls. The galleries relate to the whole
space as 2:9. The higher vertical nave allows for a
series of top windows, allowing zenithal light into
the central space. The church embodies the effects of
phenomenal transparency through the different
overlapping rhythms of the four bottom column-
spaces and the nine top windows. It gives a
horizontal layered effect to the overall space in
contrast to its verticality. In Tomelilla, the church has
34
a specific eurhythmic shape: height to width to
35
length relate to each other as 3:4.

34 Church in Tomelilla 35 Church in Tomelilla, 36 Typical plans of


drawing: Rik van der the church in
Laan Tomelilla

30

34

31

35

32

33 36

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148 arq . vol 16 . no 2 . 2012    theory

The half-space The library


The spaces on the ground floor, for example the As the half-space, the library is in superposition with
refectory or the chapter room, are shaped a gallery relating to the space as 2:5 [40–42]. But here
according to the specific formula of a hall space this gallery becomes a double-height vertical reading
with one gallery [37–39]. The gallery relates to the space. In Vaals, two rows of windows provide an
space as 2:5. Also here different bay-rhythms abundance of light. In Tomelilla there is only one
evoke an overall dynamic spatial effect. The high row of windows, as the library is partially
typical half-space is based on the bay-rhythm of underground. Here, the zenithal light emphasises
the cells on the first floor. In Tomelilla this is four. the verticality of the space. Adjacent to the gallery are
In a classical composition, this would lead to a two levels for the storage of books. They are quite low
further organisation of the space according to and dark. So besides the typical shifts in the rhythms
the rhythm of four, meaning four windows in the of column-spaces and window openings, also a
facade and four column-spaces. But Dom van der vertical-horizontal overlap is emphasised here.
Laan chooses to use a shift: five windows and Within the expression of the building elements, this
three column-spaces. In the facade this gives a effect is reversed. The continuous concrete threshold
bay-rhythm of five that relates as 3:4 to the cells. and buttress of the windows give a horizontal effect,
For the column-spacing this gives a bay-rhythm while the columns are articulated as vertical masonry
that relates to the cells as 4:3. In this way, the half- elements. All of these different rhythmical narratives
space becomes an interrelated play of three come together in the reading room. Moving along the
successive bay-rhythms. central stair allows for this experience to unfold
through changing diagonal perspectives.

37 Guest conference
room in Roosenberg

38 Half-space in
Tomelilla, drawing:
Caroline Voet

39 Typical plans of the


hall spaces in
Tomelilla

40 Library in Vaals

41 Library space in
Tomelilla, drawing:
Caroline Voet

42 Plan of the library


in Tomelilla

37 40

38 41

39 42

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theory   arq . vol 16 . no 2 . 2012 149

The staircase Disposition of the spaces in Tomelilla


The dark staircase has an overall size of four cells For the disposition of the spaces in the general plan,
[43–45]. It formulates a connection between the Dom van der Laan uses the plan with the bay-
functional spaces and the brightly-lit central court measures as an under layer [46]. The drawing is then
gallery. In this sense, it is an in-between space, used as a grid on which the actual spaces are further
offering a progression from light to dark before organised. Many of these first grid layouts are
entering. The stair itself is situated in a slot effectively drawn on squared paper, the squares
between the facade and a parallel wall. The slot is being the basic space-unit (4.2 m in Tomelilla).
lit from above by four windows on the first floor. In On the first floor, the space-unit is directly
this way, the stair is a brightly lit focal point from translated into the bay-measure of the sleeping cells.
where the light guides you upstairs, in contrast A connecting corridor and halls for stairs are
with the dark hall. This is enhanced by the fact that inserted. On the ground floor, space-units are
the upward movement is ‘announced’ by five steps combined into bigger hall spaces. The main
towards the slot: first a movement towards the circulation is the cloister gallery around the inner
light, then a movement alongside the light. The court. Circulation halls are linked to this spine,
wall ends on the first floor as a parapet, so the forming a connection with the cloister entrance, the
perspective opens up as one moves upwards. first floor and the different spaces. To organise the
different spaces functionally, Dom van der Laan
follows the universal and generic convent layout.
43 Staircase in 36
Every space has its specific use, reflecting daily life.
Roosenberg

44 Staircase in
Tomelilla, drawing:
Caroline Voet

45 Typical plans of a
staircase

46 Programmatic
layout, Dom van
der Laan, 25 May
1986

43

44

45 46

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150 arq . vol 16 . no 2 . 2012    theory

Scale III, disposition of the wall: The size of the openings is always seen in relation to
column-spacing and window arrangement the bay-rhythms of the wall, in other words the
Dom van der Laan regards the wall as a composition opening is superimposed on the wall. To define the
of wall pieces with clearly delineated orthogonal rhythm of these open and closed relations, Dom van
open and closed parts [47]. The size of the parts is der Laan uses the five column-spacings of Vitruvius
defined within the order relating the wall to the [48]. Here the column interval is expressed as a
cell. Every wall piece is an eurhythmic and function of the diameter of the column, fixing five
symmetric play of measures in the order defined by distinct proportions. Dom van der Laan translates
the wall thickness as basic unit. The direct these through Plastic Number ratios, defining the
perception of the different shapes: block-bar-slab column width to the distance between the columns,
can be clearly found [48,50]. He calls it ‘the which is the bay-rhythm. The eustylos is the most
39
articulation of the wall under the influence of the ‘pleasing’.
37
Plastic Number’. Through the repetition of
openings and columns, each wall defines a distinct Practical example:
bay-rhythm. ordinance of the Tomelilla garden wing
This repetition in the wall of open and closed parts to the The grid of 42 dm x 42 dm is used as a basic layer
rhythm of the smallest spatial unit is a universal from which the plan is refined [51–54]. The central
architectural phenomenon; at all times and in all places, axis that divides the wing in two equal parts of 42
walls display rows of doors or windows, of columns or dm (the double nearness of the cell) is shifted
piers, which can moreover be built up in tiers if the space according to successive rhythms: 18 – 24 – 32 – 42.
38
they bound is also developed vertical. Also in section the wing is composed through a
multitude of relations. Within the framework of
compositional dimensions, several options are
possible. In this way it is possible to shift the
outcome until also the functional dimensions are
achieved. For example: the basic wing with its
depth of 84 dm has a height of 98 dm. They are
derived measures. The heights of the first floor and
roof, and the ground floor, 42:56 are related as 3:4.
The gallery at the inner court is reduced to 36 dm.
36 = 6/7 of 42.

47 Study of the window 48 The five column-


arrangement for a spacings, 49 Opening from small
facade at Tomelilla, Architectonic Space, to big, Architectonic
Dom van der Laan XI.10 Space, IV.12–14
47
50 Crypt in Vaals

49

48 50

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theory   arq . vol 16 . no 2 . 2012 151

53

51

54

51 Measurements of the convent wings, 53 Garden wing at


garden wing, measurements are Tomelilla
Tomelilla, drawings: taken from order II
Rik van der Laan and order III. The 54 Wall pieces of the
ordinance of the wall chapter hall,
52 For the ordinance of pieces can be drawing: Rik van der
52
the spaces within the situated in order IV Laan

Although the halls of the ground floor are Each wall is a composition of several wall pieces
organised according to the bay-width of the cells, that are all derived from order III and order IV. From
meaning 4 x 42 dm, this rhythm is not accentuated the inside, they define the bay-rhythms of the spaces,
in the spaces. It is the rhythms of the window from the outside they define the composition of the
arrangement and the column-spacing of the gallery facade. For example: the ground floor windows are
that are dominant. arranged according to a central disposition (the
Window arrangement: 5 x 32 dm window is defined as the smallest unit). Window and
Columns-spacing: 3 x 56 dm bay-width relate to each other as 14:32, or 3:7. The
32, 42 and 56 are three consecutive authentic relation between mass and opening is 4:3. A typical
measures. The overlay of these three rhythms gives hall space has five windows. This design process is
the specific asymmetrical dynamics, which are so equally applied throughout the whole convent and
inherent in the architecture of Dom van der Laan. also in section.

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152 arq . vol 16 . no 2 . 2012    theory

Expression through matter and light Conclusion


The result is an architecture that is expressed No proportional system offers a guarantee to create
through interrelated rhythms [55]. Surely, such beautiful buildings [56]. This is dependent on the
an architecture can also be achieved with other manner in which the system is implemented, design
proportional systems, but the aesthetics would choices made and, most importantly, the skill of the
be slightly different. The Plastic Number 1.325 designer. In this sense, it is important to understand
gives a more robust expression than for example that the dynamics of superposition used by Dom van
the Golden Section 1.618. But the essence of the der Laan, his skill in the detailed realisation of the
Plastic Number is not its aesthetic appearance design, is equally important in achieving the desired
in itself. Its strength lies in the way it defines a spatial effects in his buildings. It is not only about
series of relations. It is the conscious use of the the order, but also about the poetics. What is unique
van der Laan series that allows for the design to about the interwoven series of the Plastic Number, is
be a play of rhythmical compositions, that it offers an intuitive framework. It is not about
interweaving all the scales. designing with a ruler to achieve exact proportions.
To materialise his designs, Dom van der Laan The loose margins enable the designer to sketch by
develops a formal language inspired by Old Syrian hand. For Dom van der Laan and his students this
churches and Italian medieval monastic methodology is far removed from an artificial
architecture. The rectilinear approach within the application that sets limitations. On the contrary, for
design is expressed by a minimalist formal language, them it means freedom.
dominated by heavy walls and galleries in masonry In 1959, Gerrit Rietveld, in assessing Dom van der
or concrete. Because of the lack of ornamentation or Laan’s work, writes:
standardised detailing such as plinths, frames or Our perception is based on distinction. […] The more
cantilevered inclined window sills, the building clear the distinction, the more clear reality is to us. Dom
parts are defined by clear lines between mass and Hans van der Laan’s Plastic Number is one of the
void. Lintels and thresholds are continuous concrete systems through which one gets acquainted with the
elements that give a horizontal articulation. laws of our discernment and how it reacts to plane and
Windows are rhythmical openings with the same spatial measures. In my opinion, the knowledge of the
dimensions inside and outside. The use of simple laws of discernment is pre-eminently useful to
material finishing, wood, paint or roughcast with
plaster in complementary grey colours, enhances the 55 Roosenberg Abbey 56 Dom van der Laan
sensorial qualities of the materials, rendering the explaining his
analysis of
space extremely tangible. The focus moves from the Stonehenge to his
building material to matter. This is enhanced by the students, 1973,
Kruithuis Den Bosch,
light. Because of the articulated series of openings, photograph: Dom
daylight illuminates the space through different Xavier Botte
intensities. It creates patterns of its own through a
pronounced light/dark shadow play. Because of the
rough finishing of the spaces, the light plays with the
effect of the subtle topography of the surfaces,
bringing the architecture to life.
Dom van der Laan’s aim is to create an architecture
that induces an immediate sensorial experience
which directly feeds into an intellectual assessment,
allowing the reading of space through the senses.
This architecture does not rely on religious
symbolism for the production of meaning. Instead it
thrives on a different type of spirituality through its
affective qualities. 56

55

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theory   arq . vol 16 . no 2 . 2012 153

intuitively correct certain proportions, until the sketching and experimenting with the method. His
highest clearness is achieved. More systems seem proportional framework is ultimately about seeing.
possible to approach this, but I don’t know any that is For him this understanding of seeing is
40
so complete and scientifically described. fundamental to the craft of an architect, it is the
It is not an easy methodology. It cannot be grasped architect’s main skill. Architecture is about order,
in an instant. To explain his method Dom van der order that can be seen to be skilfully proportioned
Laan developed a course of fifteen lessons, according to our perceptual limitations and
grounded in his general philosophical approach. In abilities, and in this sense, the Plastic Number can
order to grasp the ‘method’ with any certainty van offer a useful tool to train designers to develop a
der Laan emphasised the need for practising, consciousness towards space.

Notes him in Richard Padovan, Dom of the Van der Laan Stichting,
1. For a comprehensive overview see: Hans van der Laan, Modern Primitive Amsterdam, under the direction
Hilde de Haan and Ids Haagsma, (Amsterdam: Architectura & of Rob de Carpentier, Gerhard
Gebouwen van het Plastisch Getal: Een Natura, 1994), p. 85. Brüggemann and Babs Rentjes.
lexicon van de ‘Bossche School’ 13. It can be compared to the Golden 20. Architectonic Space, VIII, ‘Measure-
(Haarlem: Architext, 2010). Section x2=x+1, which is used in Systems’.
2. Dom Hans van der Laan, De the Fibonacci sequence. See also: 21. The abacus was used as the first
Architectonische Ruimte (Leiden: Godfried Kruijtzer, Ruimte en Getal, teaching aid to compose
Brill, 1977). Het Plastische getal en Het gulden buildings. Symmetry is to
3. The concept of ‘Poetics of Order’ is snedegetal (Amsterdam: compare two lengths in the same
based on: Alexander Tzonis and Architectura & Natura, 1998). direction, the corresponding
Liane Lefaivre, Classical Architecture: 14. Dom van der Laan only quotes dimensions of two distinct forms.
The Poetics of Order (Cambridge, MA: Aristotle and Vitruvius as sources ‘This the ancients called
MIT Press, 1986). The book analyses in Architectonic Space. symmetry, not in the sense in
architecture as a formal system 15. Architectonic Space, VI.13, ‘Threefold which the word is used at
from a historical point of view. Function’. present, to mean the identity of
4. Sam J. van Embden, Preface in: 16. W. Graatsma and H. J. M. Tilmanns, two opposite halves, but in the
De Architectonische Ruimte, p. IX. eds, Memorial Volume Published on sense of the proportion between
5. For more information on Dom the Occasion of the Award of the the sizes of the parts of a
van der Laan’s liturgical Limburg Prize for Architecture to Dom building, from a smallest up to
background in relation to his H. van der Laan (Maastricht: the whole.’ See: Architectonic Space,
architecture, see: Michel Remery, Albertusstichting, 1989), p. 13. IX, ‘Symmetry’. These lengths can
Mystery and Matter (Leiden: Brill, 17. For a relation between van der be juxtaposed or superimposed.
2010). Laan’s theory and buildings, see The other compositional term
6. Dom van der Laan reached these also: Richard Padovan, Dom Hans used by Dom van der Laan is
insights through the work of for van der Laan, Modern Primitive. This eurhythmy, in which several
example Maurice Blondel. In the paper emphasises also the link dimensions of a single form are
1970s, Brother van Hooff in the with the practical design process. compared. See: Architectonic Space,
Abbey Sint-Benedictusberg 18. The four main convents are: X, ‘Eurhythmy’.
developed a Ph.D. on his work. See: Extensions at the Abbey Sint- 22. Gustav Theodor Fechner (1801–
Anton van Hooff, Over wonen en Benedictusberg, Vaals, The 1887) did several empirical tests
meten, ontwerpen als menselijke Netherlands, 1957–86 (crypt, with his students, categorising
handeling, lecture at the van der church, guest wing, atrium, different geometric shapes. His
Laan dag (Boxtel, January 2011). library, gallery), Abbey favourable outcome was often
7. Besides the work of Matila Ghyka, Roosenberg of the Mariazusters of the Golden Section.
for example The Geometry of Art and Franciscus, Waasmunster, 23. Richard Padovan translates the
Life, 1946, we can mention: Colin Belgium, 1972–75, Motherhouse of word ‘nabijheid’ as
Rowe, Mathematics of the Ideal Villa, the Mariazusters of Franciscus, ‘neighbourhood’, with the
1947 and Rudolf Wittkower, Waasmunster centre, Belgium, approval of Dom van der Laan
Architectural Principles in the Age of 1978–85, Jesu Moder Marias himself. Nevertheless, the author
Humanism, 1949. Kloster, Mariavall, Tomelilla, here prefers the term ‘nearness’.
8. Le Corbusier, Vers une Architecture, Sweden, 1991–95 (only first part 24. Architectonic Space, XII.4,
1923 and Le Modulor, 1948. realised). ‘Disposition of the House: Space-
9. Anton van Hooff, Over wonen en 19. In the light of the publication of a cell, Unit of Size’.
meten, ontwerpen als menselijke cahier on Tomelilla, Rik van der 25. Otto Friedrich Bollnow, Mensch
handeling. Laan and Caroline Voet had several und Raum (Stuttgart: W.
10. van der Laan, unpublished working sessions and interviews, Kohlhammer GmbH, 1963).
biographical text in the light of an in which Rik became an 26. Aristotle, Poetics, bk. VII, para. 35.
interview with Antoine Bodar, 26 important mentor on the design Another reference is Vitruvius
March 1988, p. 7 (Van der Laan methodology of Dom van der and his practical definition of
Archives Sint-Benedictusberg Laan. He explained and grid schemata and tripartite
Abbey). documented the methodology taxis. This is explained in for
11. van der Laan, Architectonic Space: through drawings and analysis, example: Alexander Tzonis
Fifteen Lessons on the Disposition of thus enabling Caroline Voet to and Liane Lefaivre, Classical
the Human Habitat (Leiden: Brill, develop an in-depth and critical Architecture: the Poetics of Order.
1983), VII, ‘Ground-Ratio’. thesis. The realisation of the 27. This is for example explained in:
12. This is how it is explained by cahier is organised by the Friends Stan Allen, ‘From Object to Field’,

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154 arq . vol 16 . no 2 . 2012    theory

Architectural Design 127: Architecture contrast to symmetry, which is to Acknowledgements


after Geometry (1997), 24–31 (p. 24). compare two lengths in the same I would like to express my gratitude
Stan Allen here describes generic direction. See: Architectonic Space, to Rik van der Laan, who became a
patterns as the Cordoba Mosque. IX. true mentor in understanding this
28. Architectonic Space, III.15, ‘Inside and 35. The measurements of the work.
Outside: The Town’. church in Tomelilla are: 14.3 m x I would also like to thank all of
29. van der Laan, Fourteen Lessons on the 19.6 m x 26 m. those who read preliminary versions
Plastic Number or the Architectonic 36. Van der Laan is guided in his of this paper: my supervisor Dr Yves
Ordinance, Expressivity, Kruithuis, 7 planning by the tradition of Schoonjans, Brother Lambertus
and 21 May 1955 (Van der Laan convent layout. See for example: Moonen from Sint-Benedictusberg
Archives Sint-Benedictusberg H. C. Butler, Early Churches In Syria Abbey and Leo en Joke Tummers.
Abbey). (Princeton University, 1929), Without the editing support and
30. From: Geert Bekaert, ‘Een beginsel a book often used by Dom van der confidence of Rob De Carpentier,
van altijd en overal’, in Landschap van Laan and his students as study Babs Rentjes and Gerhard
kerken, 10 eeuwen bouwen in material. Brüggemann, friends of the Van
Vlaanderen (Leuven: Davidsfonds, 37. Architectonic Space, XI.7, der Laan Stichting, this part of the
Leuven and Antwerp: Standaard ‘Disposition of the Wall’. research would not have seen the
Uitgeverij, 1987), pp. 278–85 (p. 280). 38. Architectonic Space, XI.6, light of day.
31. These drawings can be seen as a ‘Disposition of the Wall:
concretisation of the abstract Juxtaposition of Wall-sections’. Biography
models in Architectonic Space, III, 39. Architectonic Space, XI.11, Caroline Voet is an architect
‘Inside and Outside’ into more ‘Disposition of the Wall: Their conducting doctoral research on the
concrete formulas. They are based Interpretation’. work of Dom van der Laan at the Sint-
on the formulas for city patterns 40. G. Th. Rietveld, Letter to Dom Hans Lucas School of Architecture,
that Dom van der Laan developed van der Laan, 27 April 1959, Copy Brussels-Ghent and the Arenberg
in Architectonic Space, XIII, Archives Sint-Andriesabdij Brugge. Doctoral School at the KULeuven,
‘Disposition of the Town’. Belgium. Supervisors are Dr Yves
32. Architectonic Space, XII, ‘Disposition Illustration credits Schoonjans and Dr Luc Verpoest.
of the House: Space-cell, Unit of arq gratefully acknowledges:
Size’. Author, 3, 4, 14, 19, 22, 26, 27, 29, 30,
33. The typical plans are fragments 32-34, 36–45, 50, 53, 55 Author’s address
from several plans of Dom van der Xavier Botte, 56 Dra. Caroline Voet
Laan. Van der Laan Archives, Sint- Sint-Lucas School of Architecture
34. Eurhythmy is the relation between Benedictusberg, Vaals, 1, 2, 6, 8-10, Hoogstraat 51
the measures within one form. The 12, 13, 15-17, 20, 28, 31, 46–49 9000 Ghent
length is put in relation to the Rik van der Laan, 5, 7, 11, 18, 21, 23-25, Belgium
width and the height. This is in 35, 51, 52, 54 voetcaroline@gmail.com

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